Redrick Sultan :: EP

RedrickSultan-EPThis is how an artist who puts out a brand should be: a distinct style throughout the album, fixed with slight differences from song to song. Spencer Hargreaves and Noah Jordan collaborate as vocalists, which gives the singing aspect of the music more depth. There is the ideal balance of guitars (Hargreaves), keys and flute (Jordan), and drums thanks to the effective sampling of Sean Mitchell. This EP is effective in combining the best of these three men in Rederick Sultan’s music.

The album opens up with ‘Jest Us’ with its quiet, drawn-out vocals and the tune being played languidly underneath. It’s a laid-back song that exudes its own style before breaking into a playful beat. The psychedelic vibe in the droning song is reminiscent of a ’60s Beatles song. I like that it picks up and doesn’t keep on playing it safe. This song is the moment at the party where you can kick back and appreciate where you are. The words stick and the playfulness behind it is commendable. ‘Strawman’ is faster, kind of like being in a rush but it takes its time to emote the feeling. Redrick Sultan’s music puts you in a haze established in the first song and slightly alternates with ‘Strawman’. The listener can easily visualize the atmosphere of this music and gets caught up in the euphoria. One of the only songs that can simultaneously gives you chills of being creeped out and chills of ecstasy.

‘Devil’s Diamonds’ presents another scope to hear the music with: faster than before, more manic than ever, then drops into the subtleties of tone and pitch with the soft lullaby-like murmur of the combined voices of Spencer Hargreaves and Noah Jordan. This is the longest song that brings with its length a Led Zeppelin’s ‘Kashmir’ overtone, which is pervasive with a lot of the tracks on this album. The fourth track, ‘The Prince’, takes its time to manifest itself, building and gaining momentum with almost painful anticipation. I didn’t know where this song was going – whether it would spike in intensity or maintain its bi-vocal dreariness. In an odd way, it manages to do both.

It’s a tired end to an album that was largely enjoyable, and it’s called ‘Recurring Mimosa’. It’s probably for the best that it ended on the fifth track since it was falling under the typical “new band curse” where all songs were starting to sound the same. There isn’t much more to be said about this track that hasn’t already been said about ‘The Prince’.

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